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DRAMA REPORT
DRAMA REPORT
DRAMA REPORT
DRAMA REPORT
DRAMA REPORT
DRAMA REPORT
DRAMA REPORT
DRAMA REPORT
DRAMA REPORT
DRAMA REPORT
DRAMA REPORT
DRAMA REPORT
DRAMA REPORT
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DRAMA REPORT

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A useful and proven diagnostic tool for the effective and constructive analysis and editing of dramatic screenplays. For writers, directors, producers, actors and others.

A useful and proven diagnostic tool for the effective and constructive analysis and editing of dramatic screenplays. For writers, directors, producers, actors and others.

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  • 1. CRITICAL DRAFT ANALYSIS A DIAGNOSTIC TOOL
  • 2. TWO QUESTIONS FOR THE SCREENWRITER • AUDIENCE – To whom is your story addressed? • TRIBE – On whose behalf, or in whose name – tribally – are you telling the story?
  • 3. Setting up the characters & their conflict 1. Who/What is/are the main character(s)? 2. What problem/opportunity does the main character confront at the beginning of the main story?
  • 4. 3. What action (plan) – on the part of the main character – is prompted by the initial problem? 4. What goal does the main character hope to achieve as a result of employing this plan? 5. Who or what opposes the main character/s?
  • 5. 6. Other than what directly and obviously opposes the main character, what else does the character fear or see as a (potential) threat? 7. In what manner or aspect is the main character [or characters]compelling?
  • 6. 8. Obstacles/complications: What is/are the major obstacle/s or complication/s confronting the main character after he/she has decided upon his/her initialplan of action? 9. In what ways does the problem evolve or change, and what impact does this change have on the main character’s objective and/or plans for achieving it?
  • 7. STAK E S 10. What is at stake in the main character’s quest for his/her objective or goal? And In what ways – if any – do the stakes change? 11. What is the main character’s final goal? 12. What new or significant realization or Understanding does the main character have at the conclusion of the story?
  • 8. 13. List and identify any subsidiary stories, and explain how they contribute to the dramatic meaning of the main story. 14. Scene sequencing: Does each scene Either facilitate or frustrate or the main character’s likelihood of attaining his/her goal? Please note any scenes that do neither. 15. Unanswered questions: Does the script raise any questions it never answers? Specify.
  • 9. DRAMATIC QUESTION, LOG-LINE & PREMISE 16. What is the dramatic question of the main story? 17. What is the answer provided at the end of the story? 18. What is the premise? 19. What is the log-line?
  • 10. GIVEN CIRCUMSTANCES Time of Action - What time-span is covered by the action of the story? Place of Action - Geographic location. Where the story set? Society - What significant societal groups, clans, or sub-cultures do the characters belong to?
  • 11. Interactions What characterises the interactions that occur between and among the different groups in the story? Intellect / education - In what way/s that are important to the story do the characters express their intellectual identity? Culture What do the groups DO that characterises or defines their cultural identity?
  • 12. Politics What principle/s do the characters and character groups adhere to and uphold in order to govern themselves? Law How do the groups enforce these principles? Economics What principle/s do the groups adhere to and uphold in the production, distribution, trade andconsumption of goods and services?
  • 13. Spirituality - What sustaining spiritual notions or values do the groups hold to be true? (This refers to the formal religious elements that may be present and inform their attitudes and actions, inclduing the presence of religious societies, churches, ceremonies, traditions,and the relgious values espoused by the characters.) Neutral circumstances - Which, if any, of these circumstances or aspects are in evidence but not

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